Are you spending too much time on your novel’s text design? Here’s how to use the Styles function in Microsoft Word to ensure the various elements are formatted consistently.

• What the Styles tool is
• The properties you can influence
• How to access the Styles tool
• Why it’ll save you time to use styles
• 3 ways to create a style
• 2 ways to modify a style
• How to assign a style to an element of text
• Troubleshooting
• How heading styles help you navigate

The Styles tool allows you to apply design consistency to the various text elements in your book. In a novel, you might want to create different styles for the following:

• book title
• author
• chapter titles
• subheadings
• indented body text
• full-out paragraphs in new chapters or sections
• displayed matter such as letters, texts, emails, reports

Microsoft Word has a handy suite of on-board styles, though it’s unlikely they’ll match your specific requirements. Modifying these is still a little quicker than creating fresh styles so take a look at the properties and work out what you’ll retain and what you’ll change.

You can influence every property of your text when you assign a style to it. However, in a novel, you’ll most likely focus on the following:
​

• paragraph indentation
• spacing above and below the text
• font
• size
• colour
• italicization and bolding
• alignment (left, right, centred and justified)
• page flow (widow/orphan control; ensuring headings and corresponding text don’t fall on separate pages; page breaks)

There are two ways to access the Styles function onscreen:

1. the Styles gallery in the ribbon
2. the Styles pane

The gallery in the ribbon offers a preview of how the style appears. If I’m working with a lot of different text elements in a document, I find these visual clues useful when I want to locate a style quickly.

On smaller screens, less of the Styles gallery will be visible. To access the previews of all the styles in your gallery, click on the MORE arrow (circled).

A new window will appear containing the full gallery.

Using styles gives you control over design, consistency and formatting time.

Time is money, so when you do the job instead of asking other professionals to do it, your book budgets goes further. Perhaps you can invest a little more time or money on cover design, sales and marketing, or learning how to improve writing craft.

Can you format manually? Of course, but you could be making a lot of unnecessary work for yourself.

Scenario 1
You complete the writing, drafting, and editing, and get cracking on designing the layout. Now that there are 85,000 words in place, your thriller’s looking more like a textbook thanks to the font you’ve chosen for your main text: Arial 14. A serif font like Times New Roman would be easier on your reader’s eye.

The problem is, you can’t select all the text in the file with CTRL A and change it in one fell swoop because that would affect the chapter headings and the emails your transgressor is sending to the police, all of which are formatted differently. Instead, you have to work through the file, locate  the main text elements manually, and change the font.

If, however, you’ve assigned a style to your main text, you can modify that font property in just a few clicks. The change will automatically change all the main text, and only that element, to your new font. Further down, I’ll show you how.

Scenario 2
You’ve written 12 additional paragraphs for your book but they’re in another document. You copy and paste the writing into your book file. Now you have to manually format the new sections so that they match the existing work.

If you’ve assigned styles, however, it’s as simple as cut, paste and left-click. Job done.

There are several ways to create a style in Word:

• manually – 2 options
• by updating an existing unused style to match a piece of text you’ve selected or clicked within

1A. Manual method
Open the styles pane and left-click on the A+ button in the bottom-left-hand corner.

A new window will open (CREATE NEW STYLE FROM FORMATTING). Now you can give your style a name (1) and assign properties to the font, paragraph spacing and page flow (2 and 3). 

1B. Manual method B
Alternatively, right-click on a piece of text that’s already formatted according to your preferences. A mini toolbar will appear. Click on the Styles button. 

A new window will appear. Left-click on CREATE A STYLE.

Name your style, modify if you wish, and left-click OK.

2. Updating method
Select a piece of text that’s already formatted according to your preferences. Now head up to the Styles gallery in the ribbon, or the Styles pane, and right-click on an unused style that you’re happy to update. Hover over UPDATE [STYLE] TO MATCH SELECTION, then left-click.

There are two ways to modify a style in Word: 

1. via the Styles gallery in the ribbon 
2. via the Styles pane

1. Styles gallery 
Go to the Styles gallery in the ribbon and right-click on the style you want to modify.

​Left-click on MODIFY and amend the properties of your style. Note that this will change every piece of text assigned with that style.

​2. Styles pane 
Go to the Styles pane on the right-hand side of your screen and right-click on the style you want to modify.

​Left-click on MODIFY and amend the properties of your style. Again, bear in mind that this will change every piece of text with that style assigned.

If a piece of text isn’t formatted correctly, left-click the cursor on a word or in a paragraph, or select it by double-clicking.

Now head up to the Styles gallery in the ribbon, or the Styles pane, and left-click on the preferred style. Your style will be assigned.

If you’re working on a smaller screen, you’ll probably find it easier to use the Styles gallery in the ribbon because it takes up less space than the Styles pane.

​To close the Styles pane and free up some screen real-estate, left-click on the X in the top-right-hand corner.

Here’s how to fix some of the more common problems that arise when working with styles.

1. Styles gallery or pane isn’t visible
If the Styles gallery isn’t visible, make sure you’re in the HOME tab in the ribbon. 

If the Styles pane isn’t visible, left-click on the small arrow in the Styles gallery.

2. Style not showing in gallery
If you’ve created a style and it’s not showing in gallery, head to the Styles pane and right-click on the missing style. This opens the MODIFY pane. Make sure that the ADD TO THE STYLES GALLERY box is checked.

3. The gallery is cluttered with unused styles
If your gallery is busy with styles you don’t need to access, there are two ways to remove them. The quickest method is to right-click on an unwanted style, then left-click on REMOVE FROM STYLE GALLERY.

An alternative is to right-click on the unwanted style and left-click on MODIFY. Then uncheck the ADD TO THE STYLES GALLERY box.

4. You’ve renamed a style but Word’s default name is still displayed in the pane
If you’re using the Styles pane to apply styles, the list might appear cluttered if Word’s default names are displaying, even though you've modified them. To fix, left-click on the OPTIONS button.

​Check the HIDE BUILT-IN NAME WHEN ALTERNATE EXISTS box, then left-click on OK.

​Your list  will now display with your modified names.

One of the advantages of using the Styles tool for a novel is navigation.

​To access the Navigation pane, press CTRL F on a PC. Now, left-click on the HEADINGS tab. Any style based on one of the in-built heading styles will show up in the menu.

I use this function when I’m editing and want to check that chapter headings (and subheadings) are formatted consistently, assigned the correct level of priority, and numbered chronologically.

Headings with arrows next to them indicate lower-level subheadings. You can expand or collapse subheadings by left-clicking on the arrows.

Furthermore, if you want to shift a headed or subheaded section to another position in your document, left-click on the relevant heading and drag up or down the menu.

Styles let you focus on your writing rather than fretting about internal text design.

Applying a style to an element of your book file takes a fraction of the time required for manual formatting. And because any style can be tweaked, you get to change your mind as often as you like.
​
If you have any problems with using Word’s Styles gallery and pane, drop me a note in the comments and I’ll do my best to fix the issue.

Here's where you can watch a video tutorial.

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
​
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

​Everyone loves a freebie. Here’s how creating useful digital resources can help you work faster with existing clients and prove your worth to clients-to-be.

Click on the image below to download your free PDF booklet and learn how to create your own digital swag bag!

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Semi-colons are disliked by some, misused by others, and avoided by many. If you want to keep them out of your writing, that’s fine. In this article, I show you how they work conventionally. That way, you can omit them because that’s your preference, not because you daren’t include them!

It’s one of these: 

There are 3 situations in which you’re likely to use a semi-colon in fiction:

1. Parallelism: To separate two independent clauses that are related but equally weighted. In other words, one is not a consequence of or subordinate to the other.
2. Clarity: To make a sentence that’s already subdivided by commas more readable. In this case, the semi-colon acts as a super-comma.
3. Emojification: To create a winking emoji when placed before a closing round bracket. This might be useful if your fiction contains text messages. I’ve seen it done in YA fiction in the main.

Here, I focus on parallelism and clarity, but sentence pacing comes into play too – a useful addition to any fiction writer’s toolbox.

Above, I mentioned independent clauses. An independent clause is a group of words that contains a subject and a predicate. In case you don’t know what they are – and many writers know how to write extremely well without knowing grammar terminology so there’s no shame in that – here’s an overview.

Subject
A subject is the thing in a sentence that’s doing something or being something. In the examples below, the subject is in bold.

• The FBI agent climbed out of the SUV.
• Detective Snooper was the bane of her life.
• “Doesn’t the pathologist in that TV show ever change her shirt?”

If you’re not sure what the subject of your sentence is, try this trick: change the subject into a question that you can answer yes/no to, as in the examples below.

Example 1

• Did the FBI agent climb out of the SUV? ​
• ​Yes, he did. He (the FBI agent) is the subject.

Example 2

• Was Detective Snooper the bane of her life?
• Yes, he was. He (Detective Snooper) is the subject.

Example 3

• “Doesn’t the pathologist in that TV show ever change her shirt?”
• “No, she doesn’t. She (the pathologist in that TV show) is the subject.

​Predicate
A predicate is the part of a sentence that contains a verb and that tells us something about what the subject’s doing or what they are.
​
In the examples below, the predicate is in bold.

• The FBI agent climbed out of the SUV.
• Detective Snooper was the bane of her life.
• “Doesn’t the pathologist in that TV show ever change her shirt?”

If you’re not sure what the predicate is in a sentence that’s a question, turn it into a statement, as in the example below. The result might be clunky but it’ll show you what’s what. The subject is in bold and the predicate in italic.

• “The pathologist in that TV show doesn’t ever change her shirt.”

Independent clauses
Quick recap: an independent clause is a group of words that contains a subject and a predicate. The subject is in bold, the predicate is in italic, and the full independent clause is in red.

• The FBI agent climbed out of the SUV.
• Detective Snooper was the bane of her life.
• “Doesn’t the pathologist in that TV show ever change her shirt?” 

Take a look at these two independent clauses.

• The FBI agent fell to the ground.
• The gravel dug into her elbows.

The second sentence is related to the first because the gravel that’s digging into the agent’s elbows is what she experiences after falling to the ground. We can therefore use a semi-colon to indicate this relationship, if we wish.

• The FBI agent fell to the ground; the gravel dug into her elbows.

Note that the first word of the clause after the semi-colon does not take an initial capital letter.

Could we use a colon?
A colon is non-standard because colons introduce additional/qualifying information about the first clause, not new information. Think of the information they introduce as subordinate, if it helps.

I recommend avoiding colons to join parts of a sentence that are equally weighted.

Non-standard – new information (AVOID)
The FBI agent fell to the ground: the gravel dug into her elbows.

Standard – qualifying information
​The FBI agent fell onto something sharp: gravel.

Standard – qualifying information
The FBI agent pulled out her gun: a Glock.

Could we use a comma?
A comma is non-standard when joining two independent clauses. Sentences using commas in this way are said to contain comma splices.

​I recommend avoiding this usage.

Non-standard – new information (AVOID)
The FBI agent fell to the ground: the gravel dug into her elbows.

Standard – qualifying information
The FBI agent fell onto something sharp: gravel.

Standard – qualifying information
The FBI agent pulled out her gun: a Glock.

Heavily punctuated sentences can be confusing and clunky. For the reader, it can mean limping through your prose rather than moving at a pace dictated by narrative intent.

​Take a look at this example from Mick Herron’s Dead Lions, p. 88. There are two semi-colons in the original version, but for this example I’m focusing only on the first (see the section in bold).
​
Original with semi-colon

1. Amended with en dash

2. Amended with comma

​The en dash in the first alternative version looks awkward because we already have two parenthetical en dashes in play.

What happens if we introduce a comma instead? The sentence is already comma-heavy. All we’ve done is bring in yet another to muddy the waters.
​
The semi-colon works best. It effectively links the clauses it connects, but in a way that subdivides the sentence clearly.

​However, pacing comes into place here too. There’s more on pacing below but, for now, compare the original and the version amended with a comma. The creepy voyeurism is starker when set off by the semi-colon.

The semi-colon is harder than the comma. It lengthens the pause or increases the distance between two clauses that could have been linked with a comma, making them both stand out.

The semi-colon is softer than the full point. It shortens the pause or reduces the distance between two clauses that could have been linked with a full point, indicating a stronger, more intimate relationship.

Back to Herron for a closer look at the second semi-colon (see the section in bold) and some alternatives we could try:

Original

1. Amended with comma

​In the original, the semi-colon acts as a super-comma, subdividing the whole sentence into two more readable chunks.

However, more marked is the impact on the pace. The semi-colon forces us to slow down. That’s important because the clause that comes after it is about the denial of interrogations. The semi-colon makes us pause a little longer, which makes the sinister information that follows stand out.

Some authors resist the use of semi-colons in dialogue, usually on the grounds that the reader can’t hear the punctuation. Does that mean you shouldn’t use them?

A novel’s dialogue isn’t real-life speech; it’s a representation of it. Speech, like narrative, has rhythm. The writer’s job is to create speech that’s clear and well paced. If a semi-colon helps you to do that, why wouldn’t you use it?

Here’s a great example from David Rosenfelt’s New Tricks, p. 316:

Original

Amended with full point

Both versions work but Rosenfelt elects to use a semi-colon because he wants to show the relationship between the two independent clauses. A full point would pull the clauses a little further apart and reduce the intimacy between them.

Some authors prefer to omit semi-colons for a variety of reasons: they're deemed pretentious, confusing, interruptive or ugly. But I’m not sure we should judge them so harshly:

• They needn’t be pretentious. There’s nothing pompous about Herron and Rosenfelt’s writing. Both authors create compelling modern commercial fiction that keeps their readers on a page, and dying to turn it.
• While not all readers understand the grammatical nuances of the semi-colon, few will be stopped in their tracks if you use it well.
• Are they interruptive? Yes; if you use them too frequently; and your writing lurches; like a driver who’s too heavy on the brakes; too much of anything can grate. And; yes, if; you put them; in the wrong; place. Used purposefully, however, they can affect rhythm and bring clarity to a story.
• As for ugly, well, that’s subjective. I think they’re just lovely!

• Dead Lions, Mick Herron, John Murray, 2013
• Dialogue tags
• How to punctuate dialogue
• How to use adverbs
• How to use apostrophes
• More resources for indie authors
• New Tricks, David Rosenfelt, Grand Central, 2009
• Style sheet template
• Using commas and conjunctions

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
​
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

Is your dialogue pushing your novel forward or making the reader feel like they’re eavesdropping on a mundane conversation at the bus stop? Here’s how to ensure your dialogue pops.

Good dialogue is the icing on the cake of a well-structured novel. Bad dialogue will mar a well-structured narrative and bury a story that is barely hanging in there. Before we look at what makes great dialogue, let’s look at what dialogue isn’t: 

What dialogue is not

• ​It’s not everyday conversation – much of that is boring and has no place in a novel.
• It’s not a narrative – that tells us what’s happening in a story. Dialogue should show us how characters respond to those events.
• It’s not a tool to set up the next character’s lines – that’s a waste of words on the page. Every line should have a purpose, whoever’s speaking it. Every line should tell us something about the character – who they are, how they’re feeling and what they want.
• It’s not a backstory-delivery mechanism that the characters are already familiar with – that’s maid-and-butler dialogue and a misfire.
• It’s not a monologue – that’s best left for viewpoint characters mulling things over in their own time, unless your intention is to show one person being bored rigid by another. If only one person’s doing all the talking, ask yourself why the other person on the page is still in the room.

‘Dialogue should be the character in action,’ says John Yorke in his must-read Into the Woods (p. 151). Yorke’s talking about the art of screenwriting but the advice is just as pertinent for novelists. I recommend you read it even if you have no intention of writing for the screen because it’s a masterclass in storytelling, whatever the medium.

When we stop thinking about dialogue as words spoken – as conversations – and instead frame it in terms of characters, we create something that’s fit for a novel.

​What does your dialogue tell readers about who your characters are, how they’re feeling, and what their motivations are?

3 components of effective dialogue
1. Character voice
How characters speak tells us about who they are, what makes them tick – their fears, frustrations, hopes and dreams, identity, preferences. Perhaps their speech is abrupt, rude, measured, polite, sweary or seductive. When we change the way a character speaks, we change their voice. And that means we change them.

2. Character mood
How characters speak tells us how they’re feeling. Dialogue that conveys emotions allows us into their heads, even if they’re not the viewpoint character. 

3. Character intent
How characters speak tells us what they want to do. Perhaps they’re asking questions for the purpose of discovery and understanding whodunit (doctors, lawyers, PIs and police officers regularly use dialogue in novels to this end), but dialogue can express a multitude of motivations. Ask yourself what your character wants every time they open their mouth.

What a character expresses through dialogue need not match their true voice, mood or intent. Unreliable dialogue is powerful precisely because it jars the reader by masking the truth (which the characters themselves may even have buried).

Imagine this scenario: John has been kidnapped by Jane. They met in a club where she spiked his drink. He started to feel unwell and she offered him a ride to the Tube station. He never made it. He’s been held captive for several days, during which time he’s been physically abused and deprived of food. He’s frightened out of his wits, and weak to boot.

The dialogue between John and Jane could go as follows: John raves and rants, telling Jane her behaviour is monstrous, that Jane’s going to pay for her actions and that he’s going straight to the police as soon as he’s escaped. Jane responds in fury, telling John he deserves it all and how there’s no way he’ll ever escape.

Or the dialogue could be unreliable. John might be polite, sycophantic even, as he thanks her for the water she provided, compliments her on her appearance, or asks her about her life. Through that speech, we are shown his desperation. It’s about keeping her on side and calm in order to save himself.

And Jane’s verbal response might be chipper, seductive even. Through that dialogue, we are shown her psychosis.

The result is a sinister verbal exchange that allows us to explore the inner workings of the characters’ minds without it being forced down our throats via an all-to-obvious narrative that’s centred around the viewpoint character.

Most novelists opt to hold third- or first-person narrative viewpoints. That means the story in a chapter plays out through one person’s perspective.

When authors drop viewpoint, readers end up playing a game of narrative table tennis in which they bounce from one character’s head to another. We know who everyone is (voice), what everyone’s feeling (mood), and what everyone wants (intention) all of the time. Readers become disengaged because they don’t have time to immerse themselves in any one character’s experience.

Good dialogue allows writers and readers to break free without head-hopping. Through dialogue, readers can intuit the voice, mood and intention of multiple characters, yet the singular narrative viewpoint remains true throughout. That keeps the reader engaged and the writing taut.

Example 1
Here’s an excerpt from Lee Child’s Never Go Back (pp. 457–8). I chose it because I’ve also seen the movie, which allowed me to compare my experience of the screen dialogue (and the advice Yorke gives) with the novel’s, and because there are no action beats, only two speech tags and no narrative. It’s just dialogue between a teenage girl and Jack Reacher. 

Note on what reader already knows
Following a lawsuit filed by Candice Dayton, Jack Reacher believes that the teenager in the scene, who’s running for her life, may be his daughter. He also cased out the diner and the staff the evening before, so the servers’ faces are familiar.

What we learn

• Viewpoint: Reacher is the viewpoint character. However, through the dialogue, readers are able to access information about him and the teenager.
• Voice: Both characters speak in a no-nonsense fashion. Reacher might think he holds the balance of power, given his job and age, but the girl’s streetwise tone suggests she thinks otherwise; they’re equals.
• Mood: Reacher is calm (we’d expect nothing more) and measured, but there is emotional engagement; he seems keen not to give too much away (probably in respect of the fact that he’s talking to a child, perhaps his daughter). As for the girl, she’s almost disinterested. I imagine her stuffing fries into her mouth, as focused on her food as she is on the conversation ... until she thinks her mother might be in trouble. Child doesn’t tell us, but I can see her in my mind’s eye, mouth full, looking at him, just a twitch of alarm registering in her expression. There’s almost a sense of the traditional mother/daughter relationship reversed; this is a kid who’s used to looking after herself. There’s movement in this dialogue; the speech is infused with its own action beats.
• Intent: Reacher wants to find out who the mother is. This exchange is all about building trust with the girl in order to achieve that. The girl needs someone she can turn to because bad people are watching her and her mother. She wants to know how Reacher might know Candice; Reacher wants to keep the possible sexual encounter and his resulting paternity to himself. The girl’s not stupid and picks up on his vague inference to a sexual encounter. As the conversation and the chapter close, Reacher and the readers discover that Candice and our protagonist have never met, and that the girl can’t be his daughter.   

This is characters in action, expressed through speech. Child makes every line count towards the chapter denouement. If he was tempted to introduce narrative and action beats that ensured we’d get it, it doesn’t show. In fact, they would have been interruptions and slowed the pace. Instead, he trusts us to do the work because the dialogue gives us everything we need.

Example 2
Here’s an excerpt from The Poison Artist by Jonathan Moore (pp. 244–5). I chose this because of the contrast between Kennon and Emmeline’s speech.

Note on what reader already knows
There’s another man in the room with torture devices attached to him; he’s twitching. Caleb is the viewpoint character, but he’s handcuffed and out of play. Nevertheless, we have access to two more characters’ voices, moods and intentions through the dialogue.

What we learn

• Viewpoint: Even though Emmeline isn’t the viewpoint character, we get to access her transgressor headspace through the dialogue, and the result is powerful and sinister.
• Voice: Kennon doesn’t say much, but what he does say is what we’d expect from a trained inspector, though it’s offered quietly. Emmeline, however, is pathologically measured. We’re left in no doubt that she’s dangerous.
• Mood: We sense Kennon’s fear and desperation through his truncated, whispered speech. There’s almost exhaustion in play. Emmeline, in contrast, is seductive (offering him a drink as if she were hosting a dinner party). Given the torture in evidence, her dialogue is obscene.
• Intent: Kennon is trying to save himself, Caleb and the twitching man, but he’s playing by the rule of law, warning Emmeline that he will fire his gun. Emmeline wants to finish her game, and her desire to play is evident in her speech. Of course, this may be unreliable; it could be masking a deep-seated fear that she’ll be harmed or killed.

This, too, is characters in action, expressed through speech. Moore draws us deep into the transgressor’s mind – even though she’s not the viewpoint character. Her dialogue, juxtaposed with Kennon’s exhausted near-silence, generates a powerful scene that oozes with sickly tension.

Example 3
Here’s a third example from Harlan Coben’s Run Away (pp. 68–9):

​Note on what reader already knows
Simon and Ingrid are married. They hold Aaron – a corrupt and possessive addict who’s been murdered – responsible for their daughter’s breakdown.​

What we learn

• Viewpoint: Simon is the viewpoint character but through Ingrid’s speech we learn how she uses her professional mindset to manage stressful situations. 
• Voice: Simon’s voice is emotional and verbose; Ingrid’s is precise and clinical.
• Mood: Simon’s disgust and distress are evident. You can almost feel the words falling out of his mouth. Ingrid’s speech exudes clinical detachment. She’s in doctor mode.
• Intent: Simon wants to unload. Ingrid wants to understand.

Again, through speech we see the characters in action. The contrasting voices and moods show us Simon and Ingrid’s different intentions. There’s no need for more than a peppering of supporting narrative.

1. Make your characters’ speech count. Use it to show who the character is (voice), how they feel (mood) and what they want (intention).
2. Play with unreliable dialogue if it will enhance our understanding of characters’ emotions and motivations. Those deliberate juxtapositions will deepen our engagement.
3. Realistic everyday speech, while authentic, is dull, invasive and will disengage your reader. Remove it! 

To help you think about your characters' voices, moods and intentions, and how these will enrich your dialogue, download this tool. It's a fillable PDF with ready-made examples and space for you to record your own decisions. ​​

• Into the Woods by John Yorke (Penguin, 2013)
• Never Go Back by Lee Child (Bantam, 2014)
• Run Away by Harlan Coben (Century, 2019)
• The Poison Artist by Jonathan Moore (Orion, 2014)

• 8 problems with dialogue and how to solve them
• Addressing others in dialogue: How to use vocatives
• Dialogue editing courses
• Dialogue resource centre
• How to complement dialogue with action beats
• How to convey accents in dialogue
• How to punctuate dialogue in a novel
• How to use apostrophes
• How to use speech tags in fiction​​

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
​
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors